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THE UNIVERSITY OF THE ARTS LIBRARY -ARCHIVES

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1876 Pennsylvania Museum and School of Industrial Art

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1939 Philadelphia Museum and School of Industrial Art

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19 U8 Philadelphia Museum School of Art

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1959 Philadelphia Museum College of Art

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196 Jf Philadelphia College of Art

A REPORT FROM THE PHILADELPHIA COLLEGE OF ART

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PURPOSE

The Philadelphia College of Art, an accredited co-educational four-year college, educates artists and designers for careers in business, industry, education and the fine arts. The College adds the humanistic experience to the disciplines of

the studio, skills in the crafts, and mastery of techniques to produce an intelligent, creative artist who can function pro- fessionally and effectively in his chosen career and in society.

FACTS ABOUT THE COLLEGE

Sequence of Official Name Changes

1876— Pennsylvania Museum and School of Industrial Art 1939— Philadelphia Museum School of Industrial Art 1948— Philadelphia Museum School of Art 1959— Philadelphia Museum College of Art

(name changed following accreditation by Middle

States Association of Colleges and Secondary Schools) 1964— Philadelphia College of Art

(name changed following severance of corporate

relationship with Museum of Art)

Accreditation

The College is accredited by the Middle States Association of Colleges and Secondary Schools.

It is authorized by the Department of Public Instruction of the Commonwealth of Pennsylvania to issue teaching certificates.

PCA is a charter member of the National Association of Schools of Art.

Enrollment

The co-educational student body includes 750 students in the daytime courses, 700 in the Evening Division and special Saturday sessions.

The College's expansion and modernization program will provide facilities for a student population double the present size.

Faculty

56 full-time teachers; 50 part-time teachers.

Major Areas of Professional Training

The Philadelphia Col lege of Art offers four-year courses lead- ing to the degree of Bachelor of Fine Arts in Art Education, Dimensional Arts, Fine Arts, Graphic Arts and Photography.

The Evening Division offers certificates and the Asso- ciate degree.

A Graduate School which will accept candidates for the degree of Master of Arts will be inaugurated in the fall of 1967 and by 1974 will accommodate 200 students.

A MESSAGE FROM THE CHAIRMAN OF THE BOARD OF TRUSTEES

A Year of Exciting Progress

In a year of momentous and exhilarating change at the College there were three particularly important and encour- aging developments:

□ The Philadelphia Museum College of Art severed its corporate connections with the Museum of Art and became the Philadelphia College of Art. The College is now a legally independent and academically autonomous organization completely in charge of its own destiny and reliant upon the funds obtained from tuition fees plus grants and gifts from private and public sources interested in art education.

□ The administration of the College has been strengthened significantly by the appointment, as president, of George D. Culler who comes to PCA after seven years as director of the San Francisco Museum of Art. With a rich background of both academic and industrial experience, Mr. Culler is eminently qualified for his new post. He will assume his new duties on July 1, 1965, and his formal inauguration will take place in the fall.

□ Dramatic progress has been achieved during the past year in the first stages of our long-term expansion and modernization program. PCA's impressive plans for con- struction of new buildings and restoration of our historic building at Broad and Pine Streets and the Furness Building on 15th Street provide the physical basis for a gradual increase in student enrollment to twice present size ten years hence. This will apply to both daytime and evening courses. Our plans also prepare the way for the establish- ment of a Graduate School which in ten years' time will have facilities for 200 candidates forthe Master of Arts degree.

Following the approval of site plans for our campus of the future, Louis I. Kahn was commissioned to execute the designs of the new buildings and renovation projects. Mr. Kahn's preliminary designs, providing a glimpse of PCA a decade from now, have excited everyone privileged to see them. A few weeks ago, Edmund Bacon, executive director

of the City Planning Commission, congratulated the College "for having the vision and courage to engage an artist with the unique genius of Louis Kahn."

"I have been particularly pleased," Mr. Bacon said, "to see emerging in Kahn's plans an emphasis on a dynamic relationship between the City and the College."

The College expects to obtain final approval of its expansion and modernization from municipal, state and federal agencies within the next few months. Dates for the beginning of site clearance and for the initiation of a vig- orous campaign for financial support of the program should be announced before the end of 1965.

In making an appeal for support to corporations, foun- dations and friends of the College, the administrators and trustees will underscore the fact that funds to assure aca- demic excellence are just as important as funds for physical expansion. Even now the Director of Faculty arid our depart- ment chairmen are revising academic schedules and devis- ing new courses to meet the needs of the coming period of development. It is essential that the College make provisions to expand and strengthen the faculty and to stimulate its creative vitality, if our investment in physical expansion is to be fully rewarding.

New Responsibilities and Opportunities

The n-otable events of the past year have marked the begin- ning of what, in my estimation, promises to be the most significant period of growth and accomplishment in the College's history. Relatively soon, I am convinced, our society will call upon first-rate colleges of design and art to assume responsibilities much larger than they have con- fronted before.

As a businessman— a manufacturer trained as an engi- neer—I hesitate to invade the province of poets and publicists and indulge in fantasies about the future. However, I think

it is safe to predict that the achievements of our productive resources will be even more astounding in the years ahead than in the fabulous two decades since the Second World War.

This will be an unmixed blessing only if the increase in the quality, the design, of the things we produce is com- mensurate with increase in quantity.

Most responsible industrialists of my acquaintance share this feeling.

We are already well past the point when rational excuses can be offered for mediocrity and drabness and ugliness in consumers' products. From now on, if I'm right, there will be ever-increasing stress on excellent and adventurous design of all the hundreds of things which we look at and touch and use during each waking hour of our everyday lives. From now on, more and more consumers will demand visual excitement and style in paper cups and packaged foods; in watches, flower pots and TV sets; in automobiles, subway cars and houses and a multitude of other commodities and facilities.

Inevitably, almost all industry will have sharply increased need for the kinds of creative, well-educated artists and designers which it is PCA's main function to train.

In addition to swiftly rising emphasis on the beauty and style— the design— of the commodities we use in our every- day lives, it is not too much to hope that the comparatively near future will bring -much broader interest in the fine arts and the performing arts. Wider opportunities for higher education and increased leisure for the average citizen will contribute to a climate in which appreciation and under- standing of the creative process can flourish; a climate in which more and more people, surprising even themselves, will find fulfillment in intellectual and aesthetic adventure.

In such a climate, colleges like PCA will be presented with unprecedented opportunity to provide excellent educa-

tion in the various branches of art and design to greater numbers of students than ever before. Colleges like PCA will have the responsibility to produce not only proficient technicians but sensitive, informed human beings who can felicitously influence the course of life in America.

Resignation of Dean Benson

There is one more event of the past year that I want to mention: Some months ago, Dean Emanuel Benson an- nounced his resignation, to become effective as of June 1, 1965.

During Dean Benson's twelve years of leadership, the College zoomed from comparative obscurity as an unaccred- ited, non-degree-granting school to a position as one of the foremost art colleges in the country. Emanuel Benson's occasionally truculent but always devoted sense of high purpose, and his sometimes controversial but invariably imaginative academic innovations led to striking improve- ments in curriculum, faculty, student body and institu- tional prestige.

I am confident of our future. But our success will demand exceptional effort and generous commitment from everyone devoted to the interests of our College. If you glimpse, as I do, the exciting impact which the Philadelphia College of Art can have on the cultural and economic life of Philadel- phia and on countless communities throughout our Com- monwealth and Nation, you will want to join me in pledging the efforts and commitments required to translate our hopes into reality. s-^

Howard A. Wolf, Chairman, Board of Trustees

THE MEANING OF THE COLLEGE

(Emanuel Benson, who is about to leave the College after twelve years as Dean, recently made the following re-evaluation of the meaning of the Philadelphia College of Art in today's society. This statement considers some of the complex tasks the College must assume if it is to make distinguished con- tributions to education in a future which Mr, Benson views as "luminous with possibilities.")

Our founding fathers were as convinced as we are that the arts are vital to our culture and indispensable to our industrial way of life and to the entire fabric of our civiliza- tion. Dependent as we are on the countless machine-made products we all enjoy, it is conceivable that we could live contentedly without many of them. It is inconceivable, how- ever, that we could ever diminish man's deep desire to create images and sounds and symbols that express, in some meaningful way, his brief passage on this planet.

This wish to leave the world a richer place than when they entered it is the creative compulsion that artists feel more strongly than the rest of us. Our college has given itself the difficult task of selecting those young men and women best qualified to make a profession of art. We offer them the kind of training which, hopefully, will prepare them for leadership in the various fields that are counting on their competence not only as artists but as thoroughly informed and responsible human beings.

This is a great deal for the world to ask of a college of art and of the students it educates: yet, it cannot ask less. The big, troublesome problem is how to accomplish this adequately in four, short years. Do we prepare a generalist and/or a specialist? And in what proportions? How much of a craftsman should an artist be? How much of a techni-

cian, a scientist, a humanist, a poet? Does Plato have something significant to say to the potter, to the photog- rapher? What should our graduates also know of finance, of fabrication techniques, of marketing? What should they know about themselves? And will they know themselves better after being introduced to Shakespeare, Spinoza, Freud, Fromm?

Creating A Climate of Adventure

Obviously what a college can offer its students is the ingre- dients of an education which will only begin after gradua- tion. But because these initial years are so precious we want them to be the best.

How is this to be done ? How do we create an encourag- ing climate of adventure based on a sound and explorative investigation of tools, materials and methods? What con- victions are needed as insulation against the beguiling embrace of opportunism ?

Our success as an institution of higher education is dependent on the ability to maintain a position of passionate involvement in the arts— no matter where this may take us. Such a commitment includes the courage to face and admit failure. Our strength and our value result from the deter- mination to approach each problem freshly resisting, to whatever degree this is humanly possible, the snug pre- judgments that precedent and tradition sagely impose on all of us.

We are, at the same time, acutely aware of the many forces, governmental, professional, educational and indus- trial, that seek, always for good, partisan reasons, to influence the character and quality of education. We have an increas-

ingly clear idea of what our relation to these forces should be. Our most significant contribution can be made, we believe, by being sympathetically responsive to the daily roll call of public service yet sufficiently independent so that the spirit'of free inquiry, so crucially important to the creative process, can be continuously cultivated and secured.

Our primary concern should be with the long-range answers rather than the brushfire responses to tomorrow's problems. Our responsibility, as we see it, is to look beyond immediacy and surface solutions to more fundamental issues. Only then will our students as artists be qualified to bring new meanings into the world and to remarry the past to a more vital present. Industry, too, by necessity almost totally involved in the practical urgencies of the here-and- now, can also benefit substantially from our fresh focus on fundamentals. Both our students and our friends in the world of business, art and education will gain in insight from the search for goals worthy of the effort.

What program of instruction is most likely to help our students attain these objectives? We have, over the years, but particularly during the past decade, evolved a basic curriculum that fuses intensive studio work in the arts with the humanistic disciplines. The ratio of image to word, about seventy to thirty percent, is an extremely subtle equation that we are only beginning to understand and to refine in a manner uniquely suited to our needs,

Indispensable Element: A Superlative Faculty

Essential to the success of our efforts, whether these are in the area of the image or the word, are artist-teachers who are able to bring to the studio and to the classroom a fresh

sense of their own brave search for value and meaning. The difference between what we must demand of our faculty and what most liberal arts colleges require of theirs is the difference between the professional goals of our respective students.

To understand the content of a course in chemistry or sociology is not quite the same as painting a picture, forming a piece of sculpture, or designing an industrial product. Where understanding is all that can be asked in the one case, knowledge, skillful performance and compositional originality are what are also essential to the other. What we are asking our students is to interpret the past and relate it discriminately to the present by sifting it through their own feelings, experience and insights.

This is a phenomenally difficult assignment which most students can only reach for with all the help our faculties can offer them. The quality of this faculty guidance is more important to us than to a liberal arts college because of the greater expressive demands that we make of our students.

For these many reasons our effectiveness as an art college must, of necessity, lean heavily on teaching excel- lence and on the devoted services of a strong faculty. Only this assurance will make possible the progress and growth we envision toward a University of the Arts in which the visual and performing arts are imaginatively related.

E. M. Benson

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ABOVE, PHOTOGRAPH OF A PRELIMINARY MODEL BY ARCHITECT LOUIS KAHN, PROJECTING HIS CONCEPTION

OF THE PHILADELPHIA COLLEGE OF ART IN 1975.

AT LEFT, A PHOTOGRAPHIC VIEW OF THE COLLEGE AND ITS SURROUNDINGS AS SEEN FROM THE SOUTHEAST.

A WORD FROM THE PRESIDENT-ELECT

Technology has shown that it knows how to make its systems work. What is not known is whether a world run by such systems can be made consistent with human needs and aspirations, or even fit for human habitation. And as more and more complex functions are delegated to automated devices it becomes important to determine what engaged and concerned activity will be appropriate and rewarding for man.

There is considerable reason to believe that human energy now needs most to be applied in ways that are essentially artistic, in which experience is imaginatively transformed to achieve new insights. Certainly no narrowly conceived procedure can bring the advances of technology into line with human values. The new synthesis, whatever it may be, will be more aesthetic than technological.

If, however, the artist is to be strongly concerned with the reshaping of tomorrow's world, the arts will take on new dimensions and operate in new relationships with other creative disciplines. A facility to produce the fashionable will not be adequate to the job. A deeper commitment will be required— to the creative process as a special way of applying energy in human affairs; to a way of working which brings to bear extensive knowledge, skills and perception in order to enlarge and enhance human experience.

The preparation for this task is neither a simple nor an easy matter. Learning can take place in many ways, but the

acquisition of skills, the enlargement of understanding and increase in vision is always, essentially, achieved by one's own efforts. What the College gives the student is the means of self-realization— an intelligently conceived, continuously studied and actively charged learning environment, in which the student participates in a working relationship committed to understanding and discovery.

It is, therefore, the objective of the Philadelphia College of Art to realize in today's terms the dialog which has always been the heart of the educational process. The student encounters in the College community those who, while contributing as professionals to the arts, sciences and humanities today, are concerned also to communicate their knowledge and skills and to share their understanding of the functions of art in society and their intuitions about its future directions. In addition, these members of the faculty, as students themselves, find common cause with their students in the continuing search for artistic means ade- quate to the solution of new problems.

George D. Culler, President-elect

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FINANCIAL REPORT

BALANCE SHEET- JUNE 30, 1964 (Note d

ASSETS

CURRENT FUNDS:

General:

Cash $ 65,046.54

Appropriations and Accounts Receivable 54,090.28

Supply Store Inventory at Cost 34,080.12

$ 153,216.94

Restricted:

Cash 64,705.18

Investments:

Stocks

Bonds

Notes and Accounts Receivable 150,584.80

$ 217,922.12

ENDOWMENT FUNDS AND FUNDS FUNCTIONING AS ENDOWMENT: Uninvested Principal Cash $1,005,388.76

$1,005,388.76

LOAN FUNDS:

Cash $ 6,778.65

$ 157,363.45

PLANT FUNDS:

Land (at assessed value) $ 606,100.00

Buildings (at insurable replacement value) 2,739,155.00

Equipment and Furnishings 315,278.00

Library (at $1.00 per volume) 13,672.00

$3,674,205.00 $5,054,879.33

PHILADELPHIA COLLEGE OF ART

LIABILITIES AND FUND BALANCES

CURRENT FUNDS: General:

Notes Payable (note 3) $ 32,431.00

Accounts Payable and Accrued Expenses 13,802.02

Students' Deposits 15,395.00

Fund Balance, Working Capital 91,588.92

Restricted:

Fund Balances for Student Aid and Educational and General Purposes

Gifts and Grants 36,243.11

Unexpended Endowment Income 28,462.07

$ 153,216.94

64,705.18 $ 217,922.12

ENDOWMENT FUNDS AND FUNDS FUNCTIONING AS ENDOWMENT: Principal of Funds (note 2):

Unrestricted as to income $ 681,801.97

Restricted as to income 323,586.79

$1 ,005,388.76

LOAN FUNDS: Principal of Funds:

National Defense Student Loan Program $ 156,179.04

Students' Assistance Fund 1,184.41

$ 157,363.45

PLANT FUNDS:

Note Payable (note 3) $ 190,000.00

Net investment in plant 3,484,205.00

$3,674,205.00 $5,054,879.33

NOTES TO BALANCE SHEET □ JUNE 30, 1964

(1) Philadelphia College of Art was incorporated April 24, 1964 for the purpose (3) Notes payable consist of:

of providing instruction in the arts as successor to Philadelphia Museum Note payable to bank, 4%%, due June 30, 1965 ($22,431 .00)

College of Art. As of June 30, 1964 the predecessor corporation (Phila- Note payable to other, VA%, due October 31, 1967 ($10,000.00)

delphia Museum of Art) transferred the assets and liabilities set forth in Note payable to bank, 5%, due on demand after six months

the accompanying balance sheet to Philadelphia College of Art. noticei secured by mortgage on College real estate.

(2) The principal amounts of endowment funds and funds functioning as endowment are stated at adjusted book values in the hands of the predecessor corporation.

ACCOUNTANTS' REPORT

The Board of Trustees, Philadelphia College of Art:

We have examined the balance sheet of Philadelphia College of Art, successor to Philadelphia Museum College of Art (see note 1 to balance sheet), as of June 30, 1964. Our examination was made in accordance with generally accepted auditing standards, and accordingly included such tests of the accounting records relating to the assets and liabilities as of that date and such other auditing pro- cedures as we considered necessary in the circumstances.

In our opinion, the accompanying balance sheet pre- sents fairly the financial position of Philadelphia College of Art at June 30, 1964, in conformity with generally accepted accounting principles.

Peat, Marwick, Mitchell & Co.

Philadelphia, Pa. August 28, 1964

BOARD OF TRUSTEES

Howard A. Wolf, Acting President, PCA Board of Trustees

Partner, Wolf Brothers Robert 0. Bach

Vice President, N. W. Ayer Philip A. Bregy, Secretary, PCA Board of Trustees

Attorney at Law, MacCoy, Evans & Lewis John William Brown, President, Alumni Association, PCA

Art Director, TV Guide Magazine Edward G. Budd, Jr., Treasurer, PCA Board of Trustees

President, The Budd Company; Trustee, Philadelphia Museum of Art Edward K. Cratsley

Vice President & Controller, Swarthmore College H. Richard Dietrich

President, The Dietrich Foundation Ralph E. Eckerstrom

Former Director, Design, Advertising & Public Relations,

Container Corporation of America Stephen S. Gardner

Senior Vice President, Girard Trust Bank Mrs. Edward S. Gifford, Jr.

Member, Artists Equity; Philadelphia Watercolor Club;

PCA Alumna Mrs. Albert M. Greenfield

Member, Board of Public Education of Philadelphia R. Sturgis Ingersoll, Esq.

Chairman of the Board, Philadelphia Museum of Art Peter Kyropoulos

Technical Director, General Motors Styling Staff Austin Lamont, M.D.

Associate Professor, University of Pennsylvania Mrs. Malcolm Lloyd, Vice President, PCA Board of Trustees

Trustee, Philadelphia Museum of Art

Member, Women's Committee, Philadelphia Museum of Art Sydney E. Longmaid

President, The Esterbrook Pen Company Mrs. William Machold

President, Women's Committee, Philadelphia Museum of Art Thomas B. McCabe, Jr.

Marketing Vice President and Member of Board

Scott Paper Company Robert Buchanan Mitchell

Professor, Department of City Planning, University of Pennsylvania Domenico Mortellito

Design Advertiser, Advertising Department

E. I. duPont de Nemours & Company Mel Richman

President, Mel Richman, Inc. Samuel R. Rosenbaum

Attorney at Law; Trustee, Music Performance Trust Funds;

Board Member, Academy of Music Mrs. Lessing J. Rosenwald

Board Member, Philadelphia Child Guidance Clinic; Member

Advisory Board of Dean of Women, University of Pennsylvania Mrs. Andrew J. Sordoni, Jr.

Board Member, Wilkes-Barre Philharmonic Orchestra

PCA Alumna Mrs. Marguerite Walter

Assistant Director, Division of Art Education

Board of Public Education of Philadelphia Mrs. Thomas Raeburn White

Associate Trustee, University of Pennsylvania

Board Member, New School of Music

Advisory Board of Dean of Women, University of Pennsylvania Frederick M. Yost

Divisional Vice President & Sales Promotion Manager

John Wanamaker

ADMINISTRATION

President-Elect

George D. Culler Office of Director of Faculty

Joseph Carreiro, Director

Jane Flory, Director of Evening Division

Richard Hood, Design Coordinator of Exhibitions

James H. McWilliams, Design Coordinator of Publications

Hazel Gustow, Librarian

Robert Keyser, Coordinator of Slide Library Office of Director of Students

E. Bruce Thomas, Acting Director of Students and Director of Admissions

Joseph B. Carver, Acting Registrar and Associate Director of Admissions

Brian J. Stuhlmuller, Admissions Counselor

Glenn Stroud, Assistant Director of Student Affairs

Shirley Rubin, Assistant Director of Student Affairs

Harry Metzger, M.D., Physician

Eleanor Oley, R.N., Nurse Office of the Business Manager

Morris Weiss, Business Manager and Assistant Treasurer

William R. Piatt, Assistant to the Business Manager

William O'Meara, Director of Buildings and Grounds

Harriett Routzahn, Manager of College Store Office of the Director of Development and Public Relations

Robert T. Seymour, Director

Joan Schaefer Leon, Public Relations Assistant

Brian J. Stuhlmuller, Placement

Jack Simons, Staff Photographer

FACULTY Full-time (Asterisk denotes Department Directors)

Edna Andrade "Raymond A. Ballinger William Barnett Morris Berd Marvin Bileck "George R. Bunker Charles Burnette Dante Cattani Natalie Charkow Elaine Pear Cohen Sol Calvin Cohen John F. Cook, Jr. Lawrence H. Curry Larry Day Thomas Doulis Boris Drucker Benjamin Eisenstat *Ruben Eshkanian John Foster Albert Gold Dorothy F. Grimm William Hague Bernard Hanson Daniel Jackson Jerome Kaplan Paul Keene Robert Keyser Irving Krakow Leonard Lehrer Dennis Leon John Loftus Robert McGovern James McWilliams *Sol Mednick John Meister Louis Mendez

Oscar E. Mertz, Jr.

Ray K. Metzker

Paul W. Partridge, Jr.

William Pennock "Richard H. Reinhardt

Aurelius Renzetti

Benjamin Schleifer *Fred R. Schwartz

Vivian Shapiro

Karl Sherman

Olaf Skoogfors

John H. E. Slater

Raymond Spiller

Benton Spruance

Richard C. Stetser

Claire Van Vliet

Petras Vaskys

Murray Weiss

Marcia Wood

Part-time

Mino Badner

Eugene Baguskas

Jane Piper Baltzell

Isa Barnett

Leo Jere Brandenburger

D. Lowry Burgess

Gilbert Cohen

Jean Cohen

John Condax

Robert G. Cox

Samuel Dion

Lois Dodd

Jane Eisenstat

William Erwin

Joseph Fiore

Louis Forman

Marian Garfinkel

Leslie Goldstein

Sidney Goodman

Frank Graham

David Hare

Allen Harris

Richard Hood

Alfred Ignarri

Lewis Jacobs

Edith Jaffy Kaplan

Kenneth Kinman

Jay Kogan Joseph Krush

Lisa Langley

Sol Libsohn Gabriel Lukas

Richard Massarella Mitzi Melnicoff Yale Nathanson Paul G. Neff Miriam Pennypacker John Pile Biagio Pinto Clarissa G. Rogers Donald Sandstrom Morris Shulman Sheila Solomon Harry Soviak Doris Staffel Joanne Surasky Benjamin deBrie Taylor Gerd Utescher Barbara Wallace Richard Yeager

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PHILADELPHIA COLLEGE OF ART □ BROAD AND PINE STREETS □ PHILADELPHIA, PENNSYLVANIA 19102

This report was edited by Herman Liveright, designed by George Beach Studios, and printed by the Falcon Press.